SMITHSONIAN INSTITUTION. 


FLM 

2015 

107075 


STATES NATIONAL MUSEUM. 



CLASSIFICATION AND ARRANGEMENT OF THE 
EXHIBITS OF AN ANTHROPOLOG¬ 
ICAL MUSEUM. 


WILLIAM HENRY HOLMES, 


Head Curator^ Department of Anthropology. 


From the Report of the United States National Museum for 1901, pages 353-378. 




WASHINGTON: 

GOVERNMENT PRINTING OFFICE. 

1903- 










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SMITHSONIAN INSTITUTION. 

UNITED STATES N A T I O N A L M U S E U M. 


CLASSIFICATION AND ARRANGEMENT OF THE 
EXHIBITS OF AN ANTHROPOLOG¬ 
ICAL MUSEUM. 


AVILLIAM HENRY HOLMES, 

\\ 

Head Curator^ Department of Anthropology. 


From tlie Report of the United States National Museum for 15X11, pages 25:i-:i78. 



WASHINGTON: 

GOVERNMENT PRINTING OFFICE. 

1903. 












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CLASSIFICATION AND AUllANCKMENT OF THE EXHIBITS OF 
AN ANTHIiOl’OLOGICAL MUSEUM. 


BY 


AVir.LIAM lIENliV IIOTAIKH, 

Head Curator, Dejuirtmenl of Aiithrojxdogy. 






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CLASSIFICATION AND ARRANGHMIiNT OF THE EXHIBITS OF 
AN ANTHROPOLOGICAL MUSEUM." 


By William IIenky Holmes, 

Head Curator, Department of Antliropologij. 


SCOPE OF THE ANTHROPOLOGICAL FIELD. 

The history of man, including all that he is and does and all that he 
has been and has done, is a wide and important subject, and is fortu¬ 
nately susceptible, in large part, of lucid and effective treatment in the 
museum. The available materials are of two principal classes. The 
first relates to man himself as a biological unit, and the second to the 
works of his hands, the creations of his developing mind. These two 
divisions of the subject are readily separated and require independent 
treatment in the museum. The first division is known as physical 
anthnpology, often called somatology; the second may in contradis¬ 
tinction be called cidture anthropology^ since it embodies the vast 
range of the essentially human activities. 

SOMATOLOGICAL DIVISION. 

If we discuss man independently of his arts—his artificial activi¬ 
ties—we treat him from the standpoint of the naturalist or biologist. 
Physical anthropology includes the study of man as a species of animal, 
of his races and varieties, his external characters, his anatomy, physi¬ 
ology^, and pathology. It includes his ontogeny—the development of 
the individual—his inception and embryonic evolution, his advance to 
maturity, his descent to the grave and return to the elements whence 
he arose. It includes his phylogeny—the development of the species 
from lower forms of life—the evolution of every part of his frame, 
the skin, bones, muscles, circulatory system, nervous system, and other 
special organs, and the relation of these parts, one and all, to corre¬ 
sponding parts of the lower animals. This is a magnificent field for 
illustration, and, in capable hands, may readily fill a museum with 

a The scheme elaborated in this paper is now being carried out in the United 
States National Museum as rapidly as conditions will permit. 


255 





KKroKT OF NATlONi^L MUSEUM, 15)01. 


25 () 

cxlii))its of supei-bitivc interest and value. It is true that man is 
properly treated along with the lower orders of ereatiires as one of a 
great systcmi of ))iologieal units, and he should therefore ])e ineludcd 
in all general ])iologieal presentations in museums. But man consti¬ 
tutes a unit of ])artieular interest and importance which should ])e 
presented as a whole. The drst chapter in any treatise on anthro- 
pology deals with man’s physical characteristics and his relations to 
nature. The curator teaches but half the lesson if lie omits illustra¬ 
tions of the physical man from his museum exhibits. The naturalist 
could as consistently display the nests of birds in a separate depart¬ 
ment from the birds themselves as could the anthro})ologist ])resent 
the phenomena of culture independently of the physical man. There is 
excellent reason, therefore, for making a special study and exhibition 
of physical man in immediate association with culture exhibits. Jt is 
necessary to bring together everything that relates to the great human 
group. However, it is not the purpose at present to take up this 
branch in detail, Init rather to give almost exclush e attention to the 
phenomena of cidture. 


CULTURAL DIVISION. 

If the ph^^sical phenomena of man include all that connects liim 
with the brute, his culture phenomena include all that distinguishes 
him from the brute. If we wish to realize more fully the scope of 
the latter division of the subject, which includes the objective evi¬ 
dences of culture, we have only, in imagination, to sweep awiiy all the 
multitude of things that it has brought into the world; destroy every 
city, town, and dwelling, eveiy article of furniture, picture, sculpture, 
book, textile fabric, fictile product, eveiy article of clothing and orna¬ 
ment; every vehicle, machine, utensil, and implement, and, in fact, 
every trace of human handiwork; set aside the use of tire and cooked 
food; banish all language, social organization, government, religion, 
music, literature, and intellectual life generally. When this has been 
done we may behold the real man standing in his original nakedness 
among his fellows of the brute world. 

Liniltatu))is of culture materlal .—The material evidences of culture 
are thus seen to be of vast extent and importance; but it should be 
observed that, notwithstanding this fact, all of culture can not be 
illustrated in the museum, for in it we can utilize material things only. 
We can not show by its collections the social, moral, religious, and 
intellectual traits of man save in an indirect way. We can do little to 
illustrate language save by displaying the methods of its expression 
to the eye in pictures and letters. We can tell little of religion save 
by assembling the idols and devices that represent its symbolism and 
the paraphernalia which pertain to the practice of its rites. We can 
tell nothing of music save by a display of the curious array of instru- 


ANTHROPOLOGICAL MUSEUM. 


257 


ments used in producing’ sound, and society and government are even 
less within the sphere of the museum. Yet it is wonderful how much 
of the immaterial side of the race can be illustrated hy the material 
things that man has used and made, for the mind is in the things 
and was developed with and by the things more than is commonly 
understood. 

Classification of oultnre materials .—But what shall we attempt to 
show in the culture division of our anthropological museum, and how 
shall we classify and place our collections? Classihcation is the first 
essential. If we look at the world and its inhabitants from a suffi¬ 
ciently distant point of view, a few of the greater groups of facts 
attract the e3^e. First, we observe that men are of several distinct 
races and varieties; but a closer look demonstrates that these are not 
separated one from another, but are intermingled in such wa^^s as to 
afford no basis sa^"e the most general for a grouping of their culture 
products. Second, we observe that nearly all peoples are separated 
into social and political groups—into clans, tribes, and nations—occu- 
p^dng distinct areas of the habitable globe. Looking closer at these, 
one sees that the\^ are not all alike; that the widest possible differences 
in condition and culture status exist. Some of the groups are savages 
almost without art and without any evidences of higher culture; some 
are more advanced, occupying the barbarian grade, while still others 
are highly cultured and surrounded b^" a thousand evidences of enlight¬ 
enment and luxury. Shall we then classify and displa}^ our museum 
exhibits on the basis of this grouping of the peoples into tribes and 
nations? Let us see what would be the result. The British Phnpire 
is possessed of commanding power and boundless territoiy, but its cul¬ 
ture materials would comprise ever}^ variefy of product under the sun, 
from the lowest to the highest, and from ever\" known region of the 
globe. The same is true of nearfy all of the civilized nations. It is 
evident, tlierefore, that units of this class are too large and too com¬ 
plex to be of use in classification. Besides, civilized nations may well 
be expected each to have and jiiaintain its own national museum. 

Let us take another illustration. Suppose that we decide to arrange 
our collections by the inferior social or political units—as by states or 
tribes. Investigation shows that these units are too small; that we 
should have thousands of exhibition units—too many entirely for 
practical purposes ,of grouping and installation. Besides, some are 
artificial divisions, and some are natural divisions, and the classification 
would be mixed and wholly unsatisfactory. What is wanted is a 
simple, natural grouping of the veiy diversified ethnic phenomena. 

Glancing a third time over the field and noting especially the culture 
of the various groups of people, we find that it varies with the region 
rather than with the race or nation, and there is a significant relation 
between it and environment. What uncivilized men do and have done 


NAT MUS 1901 - 17 


258 


REPORT OF NATIONAL MUSEUM, 1901. 


in any region depends much on the climate and the natural productions 
of that region. The arctic provinces have one culture, the tropical 
another; the arid plains have one group of activities, the humid regions 
another. The inland district has a race of hunters and develops hunt¬ 
ing arts; the maritime people becomes a race of fishers and develops 
fishers’ arts, and so on. Culture is thus so much the outgrowth of the 
region that its products may be assembled by geographical areas, and 
these may be large or small as occasion demands. The continents, 
great islands, and groups of islands are subdivided into minor areas. 
These are called by anthropologists “specialization areas,” because they 
have given special characters to the culture developed within them. 
They have nothing to do with political lines, and they disregard mod¬ 
ern civilization because it has broken over all natural limits and by 
means of railroads and ships carries its generalized culture to the ends 
of the earth. But as these areas are largely those in which special¬ 
ized cultures have had their inception and earl}" development, it is by 
these that the student can best study and the curator can best illustrate 
the phenomena of humanity. Within the space assigned to each of 
these geographic groups in the museum should be assembled illustra¬ 
tions of eveiything the area produces, no matter what the race, the 
nation, the culture stage, or the time represented, excepting always 
the intrusive generalized elements of civilization which must be treated 
separately in museums of national histor}^ 

Geo-ethnic arrangement. —Now, the museum materials intended to 
illustrate a given geographic-ethnic territory should be such in char¬ 
acter and so arranged that the student or visitor passing through the 
hall or halls in which they are installed ma}^ gather quickly a clear 
impression of the people and the culture of the area represented. I say 
first “people,” because after all it is the people we are studying, and a 
display of all the culture phenomena of a region.without some definite 
illustration of the people concerned would be wholly unsatisfactory. 
The man himself as he appears in his everyday life is the best illus¬ 
tration of his own place in history, for his physical aspect, the expres¬ 
sion of his face, the care of his person, his clothes, his occupations, 
his general appearance and social relations tell the story with much 
clearness. 

So, since we can not display the people themselves, we should begin 
each of our ethnical exhibits by building a lay-figure group, showing 
a typical family of the area illustrated—the men, the women, and the 
children—engaged in ordinary occupations and surrounded by the 
things they make and use and love. Physical characters should be 
portrayed with all possible accuracy, and a correct impression of the 
disposition and social attitude of the members of the group should be 
given. Around this family group should be arranged in separate 
cases series of objects illustrating the arts, industries, and history of 
the people represented. 


ANTHROPOLOGICAL MUSEUM. 


259 


i ollowing the family group, the next most important culture unit is 
the dwelling group, which ma}^ be modeled in miniature (say one- 
twelfth or one-twent}^-fourth actual size) and illustrates the houses 
and associiited constructions of all kinds, as well as something of the 
home arts and life of the people. Miniature figures of men, women, 
and children may be added to the dwelling group to graphicall}^ illus¬ 
trate the practice of culinary arts, manufacture of basketiw, weaving, 
pottery, the use of domestic animals, and other arts. 

Illustrations of other activities should follow the dwelling group in 
the order of their importance or significance, each exhibit (consisting 
of the actual objects or of models) being of sufficient extent to serve 
as a synopsis of the work of the area represented in the j^articular 
region treated. The method of arranging the various series is dis¬ 
cussed in detail farther on. Along with the ordinary ethnological 
exhibits should go exhibits of the arclneology of the area, showing the 
prehistoric cultural relics and remains, and carrying the story l)ack to 
the earliest times. The exhibit of each area should be supplemented 
1)3^ maps, i:)ictures, and labels, thus completing an attractive synopsis 
of its culture phenomena. If a particular area should happen to con¬ 
tain two or more distinct peoples or cultures, exhibits could be added 
according to space and needs, rounding out the presentation. If sev¬ 
eral tribes are included and require separate attention, th.e less t3^pical 
may be represented b}^ simple costumed figures instead of by family 
groups. 

It would prove instructive to add to each of these ethnic exhibits 
illustrations of the ph3^sical characteristics of the peoples of the area. 
These may comprise casts of the face or even of the entire figure; the 
skeleton or parts of it, and especialty the skull, which presents wide 
and significant variations; examples of artificial deformation and 
mutilation, and collections of such remains of fossil man as are 
found in the area. This exhibit ma}^ also include pictures, diagrams, 
and maps, completing a synopsis of the somatic characters. 

The geo-ethnic units thus described should be assembled in the 
museum somewhat as is represented in fig. 1 . Here a portion of the 
ground plan of the exhibition hall is presented. An ordinary, some¬ 
what limited ethnic unit occupies space I of this diagram. The lav 
figure group stands at A and the associated exhibits extend across the 
hall, filling a single row of cases and the wall cases of the alcoves. 
A larger unit is provided for in II, where besides the single family 
group A additional lay figures are introduced {a^ b, c, d) to repre¬ 
sent less conspicuous peoples. In section III two minor groups are 
placed, one on the right and the other on the left of the main aisle, 
with the family la3^-figure groups in front {£, B). In many cases the 
lack of well-rounded collections will necessarily prevent the building 
of farnil}^ groups, and if costumes are at hand single figures may take 
their place. 


260 


KEPOKT OF NATIONAL MUSEUM, 1901. 


Since these proposed exhi])ition units are to‘ represent terrestrial 
areas, it follows that their order in the inuseiiiii sliould approximate 
as nearly as ma}^ be tlie geographical order. If, for example, we are 
dealing with North America, the most northern group or unit should 
come first and the groups to the south follow according to degree of 
intimacy in geographical relations. In this Avay neighboring environ¬ 
ments, cultures, and peoples come together and their interrelations 
may be presented and studied to advantage. 

Assuming that the museum space to be occupied is an ordinary hall 
or series of halls having a convenient width of, say, 120 to 150 feet, 
the several members of each scries would be assembled somewhat as is 
shown in the diagram. The lay-figure cases {A, A) would be ranged 
down the center of the space, with wide aisles at right and left, the 
associated exhibits (a, c, e) coming at the sides in whatever order 
seems most advantageous, each series extending entirely across the 
hall, as shown in I and II; or, otherwise, standing at the sides, in the 
manner indicated in III and IV, where /> and J] are the family groups, 
facing the main aisle. The order and relative position of the separate 
exhibits in each exhibition unit should l)e approximately uniform. 
The ordinaiy visitor would thus be able to pass down the central aisles, 
observing the various peoples as represented by the lay figures, giving- 
slight attention perhaps to the associated exhibits, while the student 
of a particular branch—as, for example, weapons of war and the 
chase—could pass from section to section, examining and comparing 
in geographic order the successive exhibits illustrative of this branch. 
The thing most to be desired in conducting the visitor through such 
a great series of exhibits is to bring theATirious features before him in 
logical order, and the suggested arrangement is apparentl}^ the best 
that can be devised. 

It frequently Inippens that a particular ethnic area contains a cul¬ 
tural feature of exceptional importance Avhich is represented b}" such a 
large body of material that to display it in the systematic series would 
be to throw the Avhole representation out of symmetiy. This exigency 
would be happil}^ provided for by arranging the plan and section of the 
museum building in the manner indicated in figs. 2 and 8. While the sys¬ 
tematic geographic series are provided for in the main skylighted hall 
{A) and its lateral gallerv spaces (5), say, 140 feet in total Avidth, lat¬ 
eral tiers of inferior side-lighted halls (6^), properly connected b}^ door- 
Avays Avith the main hall, may accommodate the overfioAV of unusually 
deA^eloped features. This idea Avould apply most satisfactorily, for 
example, in the California area, where a great series of basketiy prod¬ 
ucts, so prominent a feature of the ethnology of that region, could be 
installed in one of the lateral halls (C), the systematic exhibit of the 
area occupying the full Avidth of A. Or, again, in the case of the 
Mississippi Valley area, the great body of archaeological material could 


\NTJlROJ^()LOGICAL MUSEUM. 


2()1 



Fig. 1.—Asseiubhige of geo-ethnio units of different sizes. I. A small unit extending the full width 
of the hall and oecnpying a single line of eases. II. A large unit, also extending across the hall 
and occupying three tiers of cases. III. A small unit confined to one side of the hall, with two 
rows of leases. IV. A unit similar to the preceding, with three tiers of cases. The wall cases are 
al.so utilized in each instance. 



F’lG. 2.—Section of museum building showing central sky-lighted liall. A, with galleries, B, and side 
ligJited halls, C. This grouping of luills seems well adapUal to the great l)ody of anthroitologic 
exhibits. 



























































































































262 


REPORT OF NATIONAL MUSEUM, 1901. 


be placed in one or more of the side halls in suitable relationship with 
the central exhibits, which would consist ot* the systematic ethnic col¬ 
lections of that area. 

The floor plan of the installation proposed above appears in tig. 3. 
The arrangement of halls suggested is probably as good as can be 
derived for general culture-anthropology exhibits. 

It may be asked whether some other arrangement of geo-ethnic or of 
other simple ethnic units may not afford superior facilities for examin- 


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Fig. 3.—Floor plan of a large geo-ethnic exhibit showing overflow into lateral halls C, C. One fnll- 
sized family group and two auxiliary lay-figure groups are provided for besides a large number of 
auxiliary exhibits. 


ing the whole held of anthropological phenomena. If, for example, 
exhibits illustrating the various groups of peoples in the world should 
be assembled according to grade of culture rather than with respect to 
geographical order, the lowest group taking first place and the others 
following according to culture status, would not the survey of the 
field be easily and advantageously made? Would one not be able 
through this arrangement, employing the lay figure groups and the 
attendant exhibits, before described, to study not only the peoples 
and compare their culture to good advantage, but to have in orderl}^ 
view the full range of culture achievement from lowest to highest the 
world over? This especial concept is illustrated in fig. 4, in which, 
instead of the linear arrangement, a radiate groupi ng is suggested. The 
inner concentric space could be occupied by the most primitive peoples, 
the succeeding concentric space by the next higher peoples, and so on 
out to the periphery, while the various activities would occupy the radial 

























ANTHROPOLOGICAL MUSEUM. 


263 


spaces 1, 2, 3, 4. These latter would be few in number toward the 
center, where peoples are simple and arts are few (a, and numerous 
farther out, where peoples are advanced and activities are numerous (1, 
2, 3, 4). To study a particular people, the visitor would follow the 
concentric lines {a, 1); 1, 2, 3, 4), exainining* each of the activities of 
that people in turn. To study a particular grade of culture the world 
over, he would follow the same plan. To study a particular branch of 
culture in all its phases, he would pass from center to circumference, 
noting what each people had done in that branch (^4, D). In 

doing this he would ascend the culture ladder from the lowest to the 
highest round, traversing the full range of human accomplishment in 
the various activities. At the same time, if the exhibits were numer¬ 
ous and properly arranged, he could form a fair idea of what the race 



as a whole had accomplished, following the development of culture 
from beginning to end. 

This seems at first glance a most complete and comprehensive scheme, 
for fully worked out it would present the peoples of the world, their 
activities and history, in a single view. But on closer inspection it 
is found to have numerous shortcomings, apparently unfitting it for 
general museum use. (1) In applying it the important factor of the 
relations of peoples to one another in the world and to their environ¬ 
ment must be disregarded; (2) the question of the order of the ethnic 
units would be difficult to settle, since many peoples are of one grade 
or nearly the same grade, while some occupy various grades in part; 
that is, a tribe or nation may be advanced in one direction or activity, 
calling for an outer place on that account, and Imckward in another, 
calling for an inner place; (3) such a grouping would be unsatisfac¬ 
tory save where collections were comprehensive and full; (4) a build¬ 
ing of unusual design and dimensions would be required; (5) a most 
serious objection is that this concentric arrangement of a comprehen- 







KEPORT OF NATIONAL MUSEUM, 1901. 


2()4 

sive exhibit, consisting of thousands of units, would be highly per¬ 
plexing to any but the trained museiun student and wholly ])eyondthe 
grasp of the ordinary yisitor. Ninet}" out of eyery hundred i)ersons 
would utterly fail to eoiuprehend the arrangement. On tiie other 
hand, the straight-away succession of geo-ethnic units seriated accord¬ 
ing to geographic position (fig. 1 ), though necessarily falling short in 
some minor respects, presents the great adyantage of simplicity and 
directness. Units of all sizes are accommodated with equal facdlity. If 
a group is small a limited space can lie assigned; if a group is large, a 
larger space or eyen an entire hall can be deyoted to it. Compara¬ 
tive studies in the various culture branches are carried on with rea¬ 
sonable ease, since a particular subject or class of exhibits has, so fal¬ 
as may be, the same relative place in each of the groups. Each cul¬ 
ture feature can be studied to best adyantage in actual contact with 
the other features of its own group; that is to say, the pottery of a 
particular group can be studied better in its own setting of related 
arts—basketry, sculpture, wood carving, etc.—than it can if separated 
from them. 

The geo-ethnic assemblage of exhibits is generally applicable and 
affords man}^ advantages, giving at once to ordinaiw visitors and to 
students a comprehensive notion of the peoples of the world and their 
culture in their true proportions and relations. It might well be the 
fundamental arrangement in eveiy general anthropological museum. 

Culture-history arrangement .—But this is not all that the museum 
can do to illustrate the history of man. Perhaps the greatest fact of 
humanity is its evolution. By the geo-ethnic arrangement just de¬ 
scribed we may amply present the peoples of the world, ancient and 
modern, and 3 -et fail to conve}' an}^ definite notion of the development 
of culture, of the progress of arts and industries, and the gradual 
unfolding of the human mind. These lessons of evolution ma}- be 
conveyed by assembling artifacts representing the various activities 
and seriating them according to the stage of culture which they happen 
to represent. These series may be called culture-history or culture- 
development series, and, although they are not true genetic series, 
since the forms can not lie said to have arisen one out of another, they 
may in a general way stand for the genetic*, order, suggesting forcibly 
the manner in which one step necessarily gave rise to anothei* from 
the lowest to the highest throughout all culture history. 

These culture-histor}^ series may be numerous and extremely varied 
in character. They may be mere synopses, giving only the great or 
epoch-making steps of progress, or they may embody many objects 
brought together from every part of the woidd. The curator may 
select only those branches susceptible of ready and effective illustra¬ 
tion, the steps of progress being represented by the tools, utensils, and 
devices employed in the practice of the art or by the products where 
such exist. 


ANTHROPOLOGICAL MUSEUM. 


205 


A mini her of the more important series are included in the list which 
follows, where they are classified under a dozen or more heads. In 
many cases only the more important series of* a particidar group are 
given. A majority of these series are now included in the exhibits of 
the National Museum. 

In the first group are placed all those activities whose function is 
that of a(‘quiring or producing the raw materials of sulisistence or 
of cidture. 

1. Plant gathering, agriculture, horticulture, forestry, etc. 

Illustrated by the implements and utensils used in (a) col¬ 
lecting uncultivated products, (h) cultivating the soil, (c) 
harvesting the crops. 

2. Hunting, fishing, and zooculture. Illustrated by (/^/) weapons, 

(4) traps {ind snares, (c') hooks and tackle, (d) appliances of 
domestication and culture. 

3. Mineral collecting, quarrying, and mining. Illustrated by 

mining implements and machinery. 

In the second group are included the activities that prepare the raw 
materials for use, a few of which are as follows: 

1. The building arts. Illustrated by (a) models of the house, 

(h) models of furniture, (c) models of Avater craft, (d) 
models of machinery, {e) devices used in construction. 

2. The textile arts. Illustrated b}^ {a) basketry-making appli¬ 

ances and basketry products; (Z») spinning appliances and 
spinning products; (c) the loom and loom products; {d) 
sewing and netting appliances and seAving’ and netting 
products. 

3. The sculptural arts. Illustrated ])y {a) implements for shap¬ 

ing stone, and products; {]>) implements for carving Avood, 
and carved products. 

4. The plastic arts. Illustrated ))y implements for modeling 

in claA", Avax, and other plastic substances, and plastic 
products. 

5. (Tlass-making arts, utensils and appliances for glass making, 

and gUss products. 

0. The metallurgic arts. Illustrated ])V {(t) metal-reducing 
appliances; (Jj) metal-shaping tools, utensils, and metal 
products. 

7. -The graphic aids. Illustrated by {a) draAving and painting, 

(Z») Avriting, (c) engraving, {d) printing, (c) photography 
(appliances and products in each case). 

8. Food-preparing arts. Illustrated by {(() contrivances for 

milling, (/>) cooking appliances. 

In the third group are implements of general use in the arts. Illus¬ 
trated l)y {(() hammers, {h) kni\^es, (c) scrapers, {d) saws, (c) axes, (/) 
adzes, {(/) drills, etc. 


2G6 REPORT OF NATIONAL MUSEUM, 1901. 

In the fourth group are the arts employing natural forces, as— 

1. The use of light and heat. Illustrated ))y (a) devices for 

striking hre, (h) lighting appliances, (c) heating appliances. 

2. Use of animal power. Illustrated by (r/) devices for harness¬ 

ing men, (h) devices for harnessing animals. 

3. Use of water power. Illustrated (a) water wheels, (h) 

hydraulic engines. 

d. Use of wind power. Illustrated by (a) sails, (h) windmills, 
(c) kites, (d) Hying machines. 

5. Use of steam power. Illustrated b}^ the steam engine. 

6. Use of electric power. Illustrated by (a) the electric mag¬ 

net; (h) telegraphic transmitters, receivers, and insulators; 
(c) telephone apparatus; (d) motors. 

In the fifth group are the metric arts: 

1. Counting. Illustrated by tallies and computing devices. 

2. Timekeeping. Illustrated by (a) sun dials, (h) hour glasses, 

(c) watches and clocks, (d) chronographs. 

3. Weighing. Illustrated by (a) balance scales, (h) spring scales. 

4. Measuring (linear). Illustrated by («) linear scales, (h) 

dividers. 

5. Surveying. Illustrated by (a) compass, (7/) theodolite, (e) 

plane-table. 

In the sixth group are transportation arts: 

1. Land transportation. Illustrated by (a) devices connected 

with burden bearing, (5) sliding vehicles, (c) rolling vehicles, 

(d) wheeled vehicles. 

2. Water transportation. Illustrated by (a) the vessel, (7)) the 

sail, (c) the propeller, (d) the rudder. 

3. Air transportation. Illustrated by (<'/) the sail, (Z») the bal¬ 

loon, (c) the fiying machine. 

In the seventh group are the arts of war. Illustrated by (a) weap¬ 
ons, (h) armor, (c) fortifications. 

In the eighth group are alimentary arts: 

1. Eating and drinking. Illustrated by utensils and appliances. 

2. Use of nicotine and narcotics. Illustrated by utensils and 

appliances for smoking, chewing, snufiing. 

In the ninth group are costume arts. Illustrated by (((,) dress, {h) 
jeweliy, (c) tattooing. 

In the tenth group are diversional arts, a few of which can be illus¬ 
trated: {a) Games of skill—ball, etc.; (7j) games of chance, dice throw¬ 
ing, etc.; (c) toys, dolls, etc. 

In addition, other groups may be mentioned as follows: 

Eleventh, the art of music. Illustrated by musical instraments. 
Twelfth, religious and other ceremonials. Illustrated by idols, 
symbols, and paraphernalia. 


ANTHROPOLOGICAL MUSEUM. 


267 


Thirteenth, arts of exchang-e. Illustrated hy coins and other 
forms of money. 

Fourteenth, pathological arts. Illustrated by devices employed 
in medical practice and surgery. 

These series may, when properly selected and arranged, afford strik¬ 
ing and easily understood illustrations of the history of culture as 
recorded in material things. Some of the branches, such as building, 
weaving, and adornment arts, are of primordial origin, covering the 
whole range of progress, while others, such as printing, photography, 
the use of steam, electricity, etc., have arisen in recent times; but all 
furnish faithful records and striking proofs of the intellectual evolu¬ 
tion of humanity. 

The degree of elaboration in any branch of the exhibits must depend 
on the space available and the materials at hand. A few specimens 
may form an instructive s 3 mopsis, emphasizing the great steps of 
progress, while, on the other hand, a single branch may embody exten¬ 
sive series of objects, as is well illustrated in the collections of the Eitt- 
Rivers Museum, Oxford, where every available form of artifact is 
exhibited, covering not onl^" the full range from lowest to highest, but 
indicating the forms peculiar to distinct peoples. 

These series of exhibits, arranged to illustrate the development of 
culture in general, do not relate to any particular people or area, but 
represent all peoples and all areas. The}^ can not, therefore, be 
installed in direct association with the geo-ethnic series, but must 
occup 3 ^ a separate space in the museum. 

Special culture series .—Two great classes of culture exhibits have 
now been described. First, the geo-ethnic series, illustrating groups 
of men and their works, assembled by geographical areas, and, second, 
the culture-history series, illustrating the achievements of the race in 
various important branches of activity. Now, it happens that there 
are numerous subjects worthy of museum illustration that can not be 
presented in either of these series of exhibits without, confusion, and 
these, therefore, call for independent or isolated installation. It is 
proposed to group them under the head of special exhibits, and the^^ 
may be as numerous and varied as we choose. Some of them may 
cover limited portions of the culture held, while others are general, 
comprehending a wide range. The^^ may be classified and arranged 
in various ways according to the nature of the concept to be devel¬ 
oped; some nia^" be chronologic, some comparative, others cyclopedic, 
and so on. A national exhibit, that is to say, one intended to illustrate 
the history of a nation, may be arranged chronologically, as is the 
historical exhibit of our National Museum. Here the successive 
periods, marked by important episodes, are as follows: 

(1) Discovery; (2) Colonization; (3) Revolution; (I) War of 1812; 
(5) Mexican war; (6) Civil war; (7) War with Spain, etc. Within 


268 


REPORT OF NATIONAL MUSEUM, 1901. 


this series and foriiiing part of it are special exhibits, as those repre¬ 
senting public personages. In the section illustrating the Revolution¬ 
ary period, for example, there is a minor exhibit relating to Wash¬ 
ington, and consisting of various articles, arranged with a view 
to artistic ehect or according to relative importance of the relics. 
This national exhibit is not a true geo-ethnic unit, since it represents- 
only three or four centuries of the ethnic history of the area included, 
and, although arranged chronologically, it is not illustrativ^e of the his¬ 
tory of culture in the broadest sense. 

A collection of paintings is susceptible of varied special treatment. 
It may be arranged (1) chronologically, (2) by countries, (3) by 
schools, or (4) by painters. An exhibit of bookbindings might repre¬ 
sent the work of (1) an individual, (2) a firm, (3) a school, (4) a period, 
and so on. 

Special comparative exhibits may be of much interest and value. 
They may 1)6 sjnoptic or cyclopedic. An exhi})it of bows and arrows, 
for example, may be synoptic, containing onl}" typical examples from 
the various regions and peoples, or cyclopedic, containing all available 
specimens from all sources. 

The culture exhibits for a museum of anthropolog}" may thus be best 
assembled in at least three distinct divisions, each illustrating a dif¬ 
ferent kind of unit of culture and serving to conve}^ distinct classes of 
information, or the same kind of information in different wa 3 ^s. So 
the museum space allotted to culture is separated into three parts, 
accommodating the geo-ethnic groups, the culture-history series, and 
the special exhibits. 

Example of 'geo-etlmic exhibit ,—The signiffcance of the geo-ethnic 
exhibits, alread}" described, will be readiU^ understood Iw refering to 
fig. 5, a map of North America, on which are outlined in the most 
general wa}" some of the principal geo-ethnic or geographical culture 
districts—the chanicterization areas of the continent. These areas are 
not always well defined, and there is a good deal of overlapping and 
ethnic intermingling. In some cases it is difficult to sa}^ of a particu¬ 
lar area which tri])e should be taken as a t 3 "pe, and the materials at 
hand must decide this^ since only those tribes can be s\^stematically 
shown from which collections are ample. In the main, however, the 
delimitations are sufficiently definite for all practical purposes. The 
areas suggesting themselves are as follows: 

I. Eastern Arctic area (Eastern and middle Eskimo). 

11. Western Arctic area (Westei n Eskimo). 

III. McKenzie-Yukon area (Tinneh). 

IV. Northwest coast area (Tlinkit, Salish). 

V. Columbia River area (Nez Perce, Chinook). 

VI. California area (Klamath, Tulare). 

VII. Great Basin area (Bannock, Ute). 

VIII. Colorado-Rio Grande arid area (Pueblo, Apache). 


A NTHK( )l‘( )L()C}IC A L MUSE MM. 


269 


IX. (iiH'at Plains area (Blac.kfoot, Kiowa). 

X. (rreatljakes and North Atlantic anni (Cyhi|)|)(‘\va, Ii'o- 
([iiois). 

XI. South Atlantic and (tnlf area (Seniinoh', Choctaw). 

XII. Ark ansas-Pexas area (Wichita, (^addo). 

Kill. Northeast Mexico and Rio (Irandc area (Coahniltcu*). 



XIV. Sonoran area (Mohave, lliiichol). 

XV. Central Mexican ai’ea (Aztec, Otonii). 

XVI. South Mexican area (Zapotec, Mixtec). 

XVII. Yucatan-Cuateinalan area (Maya, Maya-Quiche). 
XVIII. Costa Rican-Isthmian area (Moscjuito, Chibcha). 
XIX. West Indian area (Carib, Arawak). 
























































270 


KEPOKT OF NATIONAL MUSEUM, 1901. 


In all these cases we deal exclusively with the native ethnology, as 
the superposed European culture is too widely distributed to be 
treated by limited districts, and transportation from region to region 
is now so easy that a particular or peculiar environment is no longer 
capable of impressing its stamp upon its people and art. Modern cul¬ 
ture has to be treated by artificial, not natural, areas, and is becoming 
so generalized that distinctions of art are disappearing, and we must 
illustrate it, if we illustrate it at all, in one cosmopolitan group. But, 
referring to the native history, let us see what these culture areas mean. 

It must have been an untoward chain of circumstances that drove the 
Eskimo peoples into the frozen zone (areas I and 11, fig. 5) occupied 
b}^ them, for at first glance it would seem that human creatures could 
not survive even for a 3 ^ear in such an environment; but they found 
means of living, and withal are a healthjr and energetic people. But 
their culture is necessarily veiy circumscribed and exceptional, devel¬ 
oped in and modified b}" the peculiar surroundings as it was. These 
peoplti have clothing, but as the garments are necessaril}^ of skins and 
furs the textile art is almost unknoAvn. Thev must also liave fire, but 
their fuel is oil. They venture out in boats to capture the seal, but as 
they have little wood their boats are made of skins and are distinct 
from the boats of other groups. They travel by land also, but their 
vehicles are on runners and are made of driftwood and bone. The}^ hunt 
game, but as this consists chie% of marine animals the^" liaA^e invented 
peculiar weapons and appliances. They build houses, but these are 
unlike those of any other climate in the world, being often made of 
whale bones or of frozen snow. The}" carve quaint figures in ivory, 
bone, and wood, which have no parallel among other peoples. They 
have no potteiy, parth" because the climate is not favorable to its devel¬ 
opment, but also because the}" have soapstone pots. Notwithstanding 
their most dreary and inhospitable surroundings, they are a clever 
people and invent and use the most cunning traps, snares, and weapons 
in the world. They are cheerful, also, and enjoy existence in their way 
as keenly, perhaps, as the more favorably situated peoples. 

Can the culture phenomena of any other region or climate be as 
peculiar and remarkable as this? Strange to say, this is not a rare 
instance of individuality in culture development and characteristics. 
Take the area marked IV on the map and note what strange contrasts 
occur. Area I has no wood, but in area IV wood abounds; there the 
great cedar and the shapely spruce grow, and the ingenious tribes of 
Indians have used them extensively. So important a feature of this 
environment arc they that the culture phenomena—the arts—are 
largely regulated by them. The people go to sea in boats, but they 
are not boats of skin, they are made of the noble spruce trunk, and the 
stable craft are well shaped and beautifully carved and painted. The 
people live in houses, but these are not of snow or whalebones, but of 


'ANTHKOPOLOGICAL MUSEUM. 


271 


wood of the hemlock. Their houses are also works of art, with carved 
and painted ornaments, and are supplemented by wonderful totem poles 
sculptured in the most fanciful forms. The hemlock, the cedar, and 
the spruce have made these peoples a race of builders and sculptors. 
They do not wear skins exclusively, but have woven garments, because 
the cedar bark and the wool of the mountain goat make the textile art 
easy. They do not make pottery, but they carve the yellow spruce 
into ornamental vessels, spoons, and chests, and they have transferred 
their skill in carving to stone, and are now veritable sculptors, made 
so because the forest trees of this particular environment dictated the 
lines in which many features of their culture should grow. 

It is unnecessary to go further into details, as the reasons are clear 
for assembling our ethnic collections by geographic areas, and it only 
remains to indicate in some detail how these collections are to be 
grouped and displayed in the museum. 



Fig. 6.—Diagram of Eastern Eskimo ethnic mnseum unit. A, Lay-figure group, case 8 by 12 feet. B, 
House models; C, Boat models; B, Sledge models, harness, snowshoes; etc. 


In the accompanying diagram (fig. 6) we have a scheme for arranging 
one of the geo-ethnic units. The area selected is that of the Eastern 
Eskimo (area I on the map). In the center of the exhibition hall we 
place the group of life-size figures, A (fig. 6), showing how the people 
look, and, as far as possible, what they think and do and have. This 
is the key to the exhibit, the most essential idea, the feature from 
which the most casual observer can get a definite conception of the 
people and their culture. The particular episode depicted in the 
group shown in fig. 7 was selected for the purpose of illustrating, 
amongst other things, the cheerful disposition of these farthest-north 
people. Then, ranged around this group, should be cases containing 
everything that will serve to indicate more fully and accurately the 
nature of their activities and culture. Case ^ should contain models 
of the various forms of dwellings—the snow house, the earth-covered 
hut, and the improvised shelter, with all varieties of attendant struc¬ 
tures; case C, models of their boats, while actual examples may be 
placed near at hand if space permits; case their sledges, snowshoes. 

















272 


REPOKT OF NATIONAL MUSEUM, 1001. 


etc., tlio fsledges ivpmsoritod imiirily by siiiall-sciile models; aisc 
their hmitiiio- weapons, traps, and snares; case their hsliino* imple¬ 
ments and apparatus; ease their knives and other tools of general 
use; case //, their lamps; case /, their carvings and graphic art; case 
-/, their clothing and })ersonal ornaments in detail; case A, their toys, 
dolls, and masks, and so on. A reasonable space should be devoted 
to crania, casts from life, and pictures showing physical characters. 


Such arclueological material as pertains to the region should also be 
shown. ]n instances where tlnvre are striking distinctions between the 
Northern, Central, and Labrador gi’oups of these Eskimo, duplicate 


FiK. 7.—Family of Fastorn Kskimo. 



exhibits slioidd be installed and separate lay figures of men, women, and 
children should be ])repared to illustrate important variations in phy- 
siipie and costume. The manner of arranging the specimens of the 
several exhibits in their cases is necessarih" much varied and it does 
not seem advisable to enter further into the details in this place. 

The labels recpiired in this ethnic unit are as follows: {a) A sign, 
about 12 by 8G inches, to bo suspended abo\ e the exhibit, serving to 
correlate it with the associated units in the museum scries: 

(<0 


Ahokigines of North America. 

THE ESKIMO. 








ANTHKOl’OLOGICAL MUSEUM. 


278 


{h) Case la])el, a))oiit 5 ])y 1() inches, to ])e framed and placed on or 
immediately above each case to designate its contents in a general way 
and ex]iressive of the broadest classilication. The case label for the 
family group is as follows: 

(/>.) • 


The Eastern EsKi>ro, 

FAMILY CROUP OF SMITH SOUND. 


(e) Descriptive label, about 8 l)y 10 inches, two copies to be framed 
and hung in each exhibition case near the level of the eye. That for 
the family group is as follows: 


(c.) 


FAMILY GROUP OF THE SMITH SOUND ESKIMO-TYPE OF THE EASTERN ARCTIC 

REGION. 

This exhibit shows an Eskimo family of Smith Sound, in northwestern 
Greenland. The Smith Sound Eskimo are called the Arctic Highlanders 
and are the northernmost people in the known world. On account of the 
prevalence of ice they do not have the kaiak, or skin canoe, but use the 

dog sled for transportation. Their cloth¬ 
ing is of skins of seal, reindeer, birds, and 
dogs, and their houses are of snow. Nearly 
all of their activities are associated with the 
struggle for existence, and little attention is 
given to art work. 

This group represents the family as it 
might appear, in the spring, moving across 
the ice fields. The young man has suc¬ 
ceeded in clubbing a small seal and the 
others are having a laugh at his expense 
for calling on the dog team to haul it home 
when he could have carried it on his back; 

It is remarkable that these farthest north j 
people are exceptionally cheerful in dispo¬ 
sition, notwithstanding the rigor of the cli- ] 
mate and the hardships of their life. The j 
Moman, who carries a babe in her hood, is about to help attach the seal to 
the sledge; and the girl, who j)lays with the dogs, and the boy, who clings 
to the back of the sledge, enjoy the confusion of the young hunter. 

Hesigned by W. IT. Holmes; modeled by H. J. Ellicott. 



Besides the ease laliel and the general descriptive label, which go 
with each exhibit, referring to it as a whole, all the exhibits save 
the family group require labels for the individual specimens. One 

NAT 3IUS 1901-18 









































274 


Rp:POiiT OF NATIONAL MUSEUM, IDOL 


exaiiiplo of those spooinion hibcLs, taken from tlie dwelling g’roiip 
scries, may la^^’iven: 

{<!.) 



Example of culture-Jtistory exluhlt ,—The nature of the geo-ethnie or 
specialization area assemblage of the culture materials of the world 
has been sufficiently shown in the preceding pages. It is the first and 
most important method for a general museum. It remains now to 
explain briefly the nature of the culture-history installation, a partial 
list of the available exhibition units of tliis class having already been 
given.^ ^ 

In flg. 8 we have a scheme for placing and labeling a series of 
exhibits illustrating progressive steps in the art of sculiflure in stone. 
The other series are to be treated in like manner. This art began very 
early in the career of the race and in forms so simple that they would 
not at first bo recognized as l)elonging to the art of sculpture by the 
unscientifle student. We are able to trace it more fully than any 
other art because its products are stone, which is not seriously aftected 
by lapse of time. Then again the tribes and nations of to-day are 
found to bo practicing every known step in the aid from the most 
elementary to the most highly perfected, so that its whole history 
comes well within the range of present observation, and examples 
of the tools and the work are available. The first conscious ste]) 
in the art was probabh^ that of fracturing one flinty stone witli 



































ANTHKOrOLOaiCAL MUSEUM. 


275 


{iiiotlier, with the view of .seeuringji sharp edge for cutting and scrap¬ 
ing. Three other processes that must have come early into use are 
shaping by pecking, ])y grinding, and by cutting, and for a long- 
period of human progress the only sculpture consisted of shaping 
useful implements by these methods. Kven to-day thes('. are the pro¬ 
cesses used, the tools and appliances being simple with primitive peo¬ 
ple and more highly developed among cultured nations. Mechanical 
aids of considerable complexity are soinetinies employed In^our modern 
sculptors. 

The first group of exhibits illustrating the history of the art may 
well consist of a pi-ogressive series of the shaping implements and 
devices, while two or more additional series may show the sculptured 
products. 


I 


H 


in 


w 


Fig. 8. —Arrangement of a synoptic exhibit illustrating the history of sculpture as elaborated in the 
U. S. National Museum. I. Series of tools and appliances. II. Series of aboriginal American sculp¬ 
tures. III. Series of oriental sculptures. IV. Series of MediterraneaTi sculptiire.s. a, Case label. 
b, General descriptive label, c, c, c, c, Series labels. 1, 2, 3, etc., Specimen labels, associated 
directly with exhibits. 

In the first stages of the art only simple, useful articles were made; 
later tliese were elaborated esthetically and personal ornaments were 
added; then graduall}^ the processes were applied to working out the 
rude, block-like, imperfectly proportioned figures of animals and men; 
these were totems, fetiches, and idols, and illustrate a third stage in 
our progressive series. Later still portraiture was attempted, and a 
kind of rigid, formal likeness was worked out, marking a fourth step. 
Then with the higher nations correct form and expression came into 
being, and finally the realistic and ideal work, represented by the 
highest (freek art, was developed. Exhibits illustrating the more' 
advanced phases should embody originals of the smaller objects and 
small-scale reproductions of the larger. If collections are ample, it 


I a I 



c 

□□□□□□□□□□□□□□a 

/ £ 3 ^ 3 6 7 6 9 10 n It 15 14 IS 



c 

□□□□□□□□□□□□a 

i 2 3 4 5 6 7 d 3 /O M /a <3 



c 

□□□□□□□□□□□□□□a 

y 2. 5 4 5 6 *7 8 9 10 1 1 1 ^ >3 /4 1S 


c 

□□□□□□□□□□□□□□a 

/ ^ 3 4 S' h 1 & d /o II tz 19 14 IS 




















KEl’ORT OF NATIONAL MUSEUM, 1901. 


27(> 

will prove interesting’ to trent the development of the art in (aich con¬ 
tinent or great cultural province separately, in the manner indicated 
in hg. 8, thus affording facilities for interesting comparative studies. 
America may furnish one series of exhibits in Avhich the course of 
development through the several |)rimitive grades up to the stage of 
Avell-relieved ffgures and rude portraiture is traced (say Id numbers). 
The Orient may afford a series someAvhat more complete (say IS num¬ 
bers), and the Mediterranean province yields illustrations covering the 
same ground, and besides furnishes additional steps up to the highest 
achievements of human genius in this art (sa}" 20 numbers). 

Four kinds of labels are recpiin'd for the sculpture exhibit, as folloAvs: 
{a) Case label, about 4 by Id inches; framed and placed at the top 
of the case. («, tig. 8.) 

(a.) 


lIlSTOKY OF THE AkTS AND JnDUSTKIK.S. 

SYNOPSIS OF THE ART OF SC'ULPTUKE. 

(Z») Orou}) label, descriptive of the entire exhibit; size about 8 by 10 
inches; framed and hung at a suitable height within the case. (?>, ffg. 8.) 


(/>.) 


History of Sculpture. 

The term “sculpture” is here applied t(j the whole group of processes and 
products pertaining to the shaping of stone, but does not extend to the carv¬ 
ing of wood, bone, ivory, or other like substances, the modeling of plastic 
materials, or the shaping of metals. The products of the art, briefly epito¬ 
mized in this exhibit, constitute an important record of human progress, 
for they not only tell a story of technical and industrial development, but 
throw many side lights on the history of religion, esthetics, and general cul¬ 
ture. It is observed that with very primitive peoples the shaped forms are 
implements and utensils merely, but that with advancing culture ornaments 
are made and life forms gradually appear, and that in civilization realistic 
and ideal jihases of the art are dominant. 

In this exhibit we have to deal Avith two classes of artifacts—first, the 
implements and appliances used, and second, the shaped product. The 
sha])ing processes include flaking, pecking, cutting, and grinding in their 
various forms, and the implements and devices used are in the main 
extremely simple, eA^en in the advanced stages of the art. The implements 
are arranged in progressive order in series 1, and the sculptured product 
in some of its varied jihases in series 2, 3, and 4. Series 2 indicates the range 
of native American work; series 3 the sculpture of the Orient, and series 
4 the full range of the art as deA^eloped on tlie shores of the Mediterranean. 














ANTHROPOLOGICAL MIIREUM. 


277 


{c) Series lai)el, to he placed at tl\e heo’inniiio- of each series. The 
following’ example pertains to series 11 of tlie sculpture exliihit. 
(Fig. 8.) 


( 0 .) 


Series 2.—Aboriginal American Sculpture. 

The American tribes displayed a strong predilection for sculpture. They 
shaped their stone implements with great skill, and delighted in represent¬ 
ing animal forms. Religious motives inspired most of the more elaborate 
work, although esthetic appreciation was not wanting. 

The series of objects here presented covers nearly the full range of native 
achievement, although the best examples shown fall short of the highest 
types of Aztec and Maya work. The simpler forms are placed at the left, 
and a series of j)rogressive steps lead up to the higher forms at the right. 
It is believed by some that germs of culture have occasionally reached 
America from other lands and that sculpture on this continent is not wholly 
of native growth. 

The practice of the art in its higher forms has, for the most part, been 
abandoned by the native tribes, but stone imjilements and utensils are 
still made in some remote districts. 


{(1) Specimen label, l)rie% describing the specimen, , and placed 
with it in each instance. The following examples belong to specimens 
13 and 11 of the American series (II, tig. 8), as installed in the National 
Museum. 


(d.) 


No. 13.—Human and animal figures combined in a miniature totem pole; 
sculptured in partial relief. Material, black slate; sha])ed with metal 
tools. Northwest Coast Indians. Period recent. 178064. 


No. 14.—Human figure, fully relieved, but falling short of the best Central 
American work. Material, gray, porous lava; probably shaped with 
stone tools. Pre-Columbian period. 61814. 


The ends to be suliserved \)y the exhibits of a genei’al anthropolog¬ 
ical museum are mainly those of education, and the aim of the classiti- 
cation and arrangement here proposed is to so present the collections 
that the student, as well as the ordinary museum visitor, may secure 
the maximum benefit from them. As has been indicated at length in 
the preceding pages, the three great ideas capable of satisfactory pre¬ 
sentation are: (1) The biology of the race—the origin, evolution, and 














278 




KP]P()RT OF NATIONAL MUSEUM, 1901. 

present characteristics of physical man; (2) the ethnolog}" of the 
race—the various groups of people and their culture; (3) the histoiy 
of culture—the evolution of arts and industries. To these three series 
a fourth is added, which consists of various special exhibits, each 
teaching its individual lesson. The anthropological collections are 
thus assembled in four grand divisions separateh’ installed and intended 
to convey distinct and important lessons of human history. 









% .T-k 

















